MUBI IS EXCLUSIVELYSHOWINGANDERSON'SNEW FILMJUNUN—HERE'S HOW THEY DID IT AND WHYYOU'LL BE SEEING MORE FROM MUBI SOON.
"This is the biggest, most significant thing we’veever done in eight and a half years."
MUBI專門展播了Anderson的新電影《JUNUN》——這里講述了他們如何做到這些以及為什么很快將從MUBI上看到更多。
“這是我們八年半來所做的最大以及最重要的事情”。
Efe Cakarel can't disguise an excitement that’sbordering on hyperbole. Here's why:MultipleAcademyAward nominee and eternalcritics’ darling Paul Thomas Anderson is exclusively streaming his new filmJununonCakarel’s platformMUBI. "The films that he does—that’s the reason we exist,"says Cakarel, founder and CEO of MUBI. (The enthusiasm is reflected in a clockthe company put on its homepage: "Countdown to Global Premiere.")
Efe Cakarel無法掩飾近乎夸張的激動，這是因為多次獲得奧斯卡提名以及批判家永恒的寵兒Paul Thomas Anderson專門將自己的新電影《Junun》在Cakarel的平臺MUBI上發布。MUBI的首席執行官以及創始人Cakarel說：“他的電影作品，就是我們存在的理由”，（熱情被體現在公司主頁的時鐘上：“全球首映倒計時?！保?/p>
Launched in 2007 under the name The Auteurs, streamingservice MUBI bills itself as "the ultimate destination for watching theworld’s best films"—and it’s banking on the idea that "less ismore" to break out of the crowded stream dominated byNetflix,Hulu,Amazon, andHBO. Instead of unleashinga firehose of content to viewers, MUBI curates 30 films at a time on its sitewith a new film replacing another every day.
以“大導演”之名成立于2007年，流媒體服務供應商MUBI將自己標榜為“觀看全球最好電影的終端”，并且遵循“精即是多”的理念來打破Netflix,Hulu,Amazon,以及HBO對流媒體的壟斷地位。MUBI每天在其網站上精選更新30部電影，而不是向觀眾發布大量的內容。
"They are trying to be everything foreveryone," Cakarel says of the competition. "As a result, they arenot satisfying everyone. Because of our curation, we can really become thetrusted service you go to to watch a quality film. We want to be the staff pickat your favorite video store."
Cakarel在評論這場競爭時說道：“他們試圖將一切都奉獻給大家”，“結果，他們并不能滿足所有人。由于我們的精挑細選，我們可以真正成為你觀看品質電影的可信賴服務商，我們希望成為你最喜歡的音像商店?！?/p>
But is being an online film club enough to loosenNetflix’s grip on streaming? MUBI’s strongest asset, in conjunction withsnagging exclusives with directors like Paul Thomas Anderson, is its footholdon a global scale, which, Cakarel says, was the impetus behind MUBI in thefirst place.
但是成為在線電影俱樂部足夠能撼動Netflix對于流媒體的統治地位嗎？MUBI最大的資產在于跟Paul Thomas Anderson這樣的導演合作，這是其在全球范圍內的立足點，Cakarel說這是MUBI的首要推動力。
FOR GLOBAL REACH
開拓國際市場
During a trip toTokyoin 2007, Cakarel wanted to watch the Chinese dramaIn the Mood for Lovebuthit an all-too familiar snag in streaming abroad.
在2007年去東京的一次旅行中，Cakarel想要觀看中國戲劇《花樣年華》，但是卻遭遇了國外流媒體相似的困難。
"There was not a single platform where I couldwatch a movie—it was unbelievable," he says. "An idea was born rightat that moment, and I started writing a business plan on the flight back toSan Francisco."
他說：“這里并不只有一個平臺可以讓我們看電影，這真是難以置信”，“心頭忽然產生一個想法，因此我立刻在返回舊金山的航班上開始書寫商業計劃?！?/p>
Two months later, MUBI was born and christened, atfirst, with a very different name.
兩個月后，MUBI應運而生，但最開始的名字卻完全不同。
"The name change happened because The Auteurs wasa very challenging brand to scale. I found myself at a dinner party with peopleasking me, 'What do you do?' And I’m like, 'The Auteurs.' And they’re like,'What?' You can’t even spell it!" Cakarel says. "So I wanted tocreate a brand that has no association with film that we could build to becomea global brand. MUBI doesn’t have any meaning—it’s four letters: consonant,vowel, consonant, vowel. Scientifically those are the easiest names that can bepronounced across very different cultures."
“改變名字是因為‘大導演’這個品牌實現規?；浅Ｓ刑魬?。當在一個晚宴上人們問我：‘你是做什么的呢？’我回答：‘大導演?！?，然后他們問：‘大導演是什么？’你甚至無法將它拼寫出來”，Cakarel說?！耙虼宋蚁胍獎摻ㄒ粋€與電影沒有聯系的品牌，這樣我們就能將其打造成國際品牌。MUBI沒有任何的含義，它僅僅是四個字母：輔音，元音，輔音，元音。從科學方面講，這是最簡單的名字，在任何文化中都很容易拼出來?！?/p>
Although Netflix has been around since 1997, itintroduced streaming in 2007, which put MUBI in a tough spot in the battle forcontent. Netflix was well out of the gate in terms of its online library,leveraging existing deals with studios to build its stock of VHS and DVDcopies. In theU.S., Cakarel agrees thatNetflix is "unstoppable." However, expanding abroad is where thestreaming giant has had its biggest roadblock that it’s aggressively trying tobarrel past.
盡管Netflix在1997年就已經存在，它在2007年引進了流媒體，這將MUBI置于一個十分艱難的處境。Netflix借助于在線圖書館而名聲大震，它利用與電影公司既有的交易來打造VHS和DVD版本影片的存儲。在美國，Cakarel認同Netflix是“無法阻擋的”。然而，向海外擴張是流媒體巨頭最大的障礙，它正在積極的摒棄過去。
About 35% of Netflix’s 65 million subscribers areinternational and the plan announced in September to expand into Singapore,South Korea, Taiwan, and Hong Kong will no doubt bump up that number—but withwhat kind of content? MUBI has offices in theU.S.,U.K.,Germany,France,Turkey,andMexicoto deliver tailored curations toits 7 million users across 200 countries—the 30 films presented inIstanbul, for example, won’t be the same as inParis. Realizing how diverse MUBI’s user base was fromthe start, Cakarel was able to focus early on securing deals for internationalfilms, acquiring and licensing more than 4,500 titles globally, such as ZhuRikun’sThe Dossier, KlausH?r?’sMother of Mine, andJúlia Murat’sFound Memories.
Netflix的6500萬用戶中有將近35%屬于全球客戶，9月份宣布進軍新加坡，韓國，臺灣以及香港的計劃將無疑會提高這一數字，但是會提高到什么程度呢？MUBI在美國，英國，德國，法國，土耳其以及墨西哥都有辦事處來為超過200個國家的700萬用戶提供定制化的服務，比如在伊斯坦布爾提供的30部影片將與巴黎的30部影片截然不同。意識到MUBI的用戶基礎是如何復雜需要從頭開始，Cakarel一開始將重點放在能夠確保交易的國際電影上，在全球范圍內收購并授權了超過4500個電影，比如說Zhu
Rikun的《檔案》，Klaus H?r?的《我的母親》，以及Júlia
Murat的《尋找記憶》。
"Once you get out of theU.S.,content is a very difficult, expensive, and fragmented business—it takes many,many years to aggregate quality content from all the independent distributorsall over the world," Cakarel says. "As a result Netflix could notmove as fast outside theU.S.—[they] stillcan’t. In theU.S., Netflix won that game fiveyears ago but we saw a much bigger opportunity outside of theU.S.And that’s the opportunity: that we could create an amazing service that canco-exist with Netflix—that can complement the Netflix experience."
“一旦離開美國，就會是一個非常困難，昂貴以及零散的業務，它將花費很多年的時間將世界各地相互獨立的優質內容整合在一起”，Cakarel說道?！敖Y果導致Netflix無法迅速脫離美國，至今也不能。在美國，Netflix在五年前贏得了市場，但是我們在美國市場之外發現了更大的機遇，而且這是一個我們能夠創造與Netflix共存的驚人機會，并且還能夠補充Netflix的經驗。”
OVER QUANTITY
質量勝于數量
Logging into Netflix can illicit a touch of thehysterical sublime—you’re inundated with rows and rows of TV shows and film andcolumns of genres. The painful process of selecting something on Netflix hasofficially become ripe for parody.
登陸到Netflix可以非法接觸異常的事件，你將會淹沒在大量的電視節目，電影以及音樂流派中。在Netflix上選擇某個條目的痛苦過程已經真正成為一件愚蠢的事情。
Meanwhile, MUBI thinks it has a solution for thiscondition. "We’re taking the entire paradox of choice out of theequation," Cakarel says.
然而，MUBI認為它對于這種情況有一種解決方案。“我們從方程中做出全部矛盾的選擇，”Cakarel說道。
It’s not that choice is bad, it’s that Cakarel wantsto position his company as valuing quality over quantity and as sort of a sidekick to Netflix, which is part of the reason MUBI’s subscription rate starts atonly $4.99 per month. How MUBI curates its content is a mix of data and manualinput: Analyzing what kinds of films people in different countries are watchinggenerates a bulk of titles, and from there, MUBI’s editorial team whittles downthe list. Cakarel explains that the curation process can become hyper-localizedand is always fluid—MUBI’s editorial team is expected to keep in mind andcontextualize current or historical events that can translate into films.
并不是那種選擇就是很糟糕的，那是因為Cakarel想要將其公司定位為質量至上而不是數量至上，并從側面對奈飛進行挑戰，這就是為什么MUBI用戶起初的費用僅僅是每個月4.99美元的原因。MUBI如何來精選它的內容是一個數據和人工輸入的整合：分析不同國家的人們喜歡看哪一類的電影可以產生一系列的標題，然后基于此，MUBI的編輯團隊對列表進行相應的精簡。Cakarel解釋說，精選的過程會變得超本地化并處于流動性，MUBI的編輯團隊期望能夠牢記和研究可以轉化為電影的當前以及歷史事件。
"The team plans months ahead what they want toprogram—themes, retrospectives—but can also react to events instantly," hesays. An example of this is how the company acquiredNicola
Costantino: The ArtefactaandLucifer, two films currentlyscreening at theLondon Film Festivaland, now, on MUBI.
Cakarel說：“團隊會提前幾個月來計劃他們的項目，包括主題以及回顧的過程，但也可以及時對事件進行響應”。這樣的一個例子就是公司如何收購了尼古拉坦蒂諾：Artefacta和Lucifer，這兩個電影當前在倫敦電影節上映，目前在MUBI上也可以看到。
It’s a unique experience given the current landscapeof streaming—unique enough to catch the eye of Paul Thomas Anderson. "PTAwas one of those 7 million people on the platform watching movies and reallyliking the experience. One day I got an email from him and we began a wonderfulconversation [aboutJunun],"says Cakarel. "This was a very personal project for him and he wanted toshow it to a discerning audience."
考慮到流媒體當前的環境，這的確是個獨特的體驗，并足夠獨特來吸引Paul Thomas Anderson?！癙aul Thomas Anderson是在平臺上觀看電影的700萬用戶之一，并且真正的喜歡這種體驗。有一天我從他那里收到一封郵件，然后我們關于《Junun》進行了一場美妙的對話”，Cakarel說。“這對于他是個非常私人的項目，他想要將其展示給一個挑剔的觀眾?！?/p>
Junundocuments Anderson’strip to Rajasthan, India, with Radiohead lead guitarist and frequentcollaborator Jonny Greenwood. Greenwood has composed the score for the threeAnderson films beforeJunun.For Anderson's new movie, Greenwood and a group of musicians worked on Israelicomposer Shye Ben Tzur’s new album.Jununplayed at the New York Film Festival and beginningtonight it will stream only on MUBI—a deal that could be a significant turningpoint for the company.
《Junun》記錄了Anderson去印度拉賈斯坦邦的旅行，一道的還有Radiohead的主吉他手以及頻繁合作者Jonny Greenwood。在《Junun》之前，Greenwood已經為Anderson的電影譜寫了三部曲子。為了Anderson的新電影，Greenwood以及一群音樂制作人致力于以色列作曲家Shye Ben Tzur的新專輯?！?i>Junun》在紐約電影節上映，但從今晚開始它將只會在MUBI上發行，這是個可能成為公司重要轉折點的事件。
Cakarel declined to discuss specifics of the termsMUBI has made with Anderson and film studios but said that "deals aretypically done based on either revenue share, straight license fee, or cost persubscriber with a minimum guarantee."
Cakarel拒絕討論MUBI與Anderson以及電影制片廠的合作細節，但是說交易基本上是基于收入份額和直接授權費，或者在最小保障情況下單位用戶的成本?！?/p>
"Five years from today I want people from BuenosAires to Tokyo to New York, to automatically think, ‘What’s on MUBI tonight?’when they want to watch a movie. That’s the vision. And it’s a big vision,delighting millions of people every day with the best films," Cakarel says."It’s going to take us many years but the team is more energized thanever—look at what we’re doing this week!"
“五年前，從布宜諾斯艾利斯到東京再到紐約的觀眾，我希望每當他們想要去看電影時，他們會自動的去思考：‘MUBI今晚有哪些電影？這是一個愿景，是一個非常大的愿景，每天用最好的電影去愉悅上百萬的觀眾，”Cakarel說。“這將花費我們很多年的時間，但是我們的團隊具有前所未有的熱情——請看一看我們這周正在做的事情！”
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